Beethoven’s renown in his own day was not just as a composer but also as an improvising pianist. He wrote in a letter in July 1819 that “freedom, and to move forward is the purpose of the world of art, as it is of the whole of creation.’
Conceived in 1998 by the renowned cellist Yo-Yo Ma to remind the world of the benefits of globalisation in bringing people together, Silkroad is a non-profit organisation with a mission to create “music that engages difference, sparking radical cultural collaboration and passion-driven learning for a more hopeful and inclusive world”.
Roy Haynes, who had begun to seem immortal, has died aged 99. In this extensive Arts Desk interview from 2011, one of the greatest jazz drummers ranges across his remarkable life with sharp intelligence and generous feeling.
The Catalan capital has given its name to a famous number in the Stephen Sondheim musical, Company. And here it is lending geographical specificity to the second two-hander, following the far-superior Camp Siegfried, from American writer Bess Wohl to reach London in recent years.
Anora has had so much hype since it won the Palme d’Or at Cannes in May that it doesn’t really need another reviewer weighing in. Sean Baker has crafted a high-velocity drama in three acts with a star-making turn by its lead Mikey Madison in the title role. She prefers to be called Ani and makes her living in a lap-dancing club in Manhattan by night before sleeping away her days in a run-down house in Brooklyn, right next to the rattle of the elevated train.
Chuck Prophet speaks the old language of rock’n’roll as if it’s bright and new. His long gone band Green On Red were R.E.M.’s Eighties peers, and as rock’s cultural tide has receded, his loyalty to its spirit of liberty, askance at authority and place with those clinging to or embracing the bottom rung has become a natural act of faith.
Director Thom Zimny has become the audio-visual Boswell to Bruce Springsteen’s Samuel Johnson, having made documentaries about the making of Born to Run and Darkness on the Edge of Town, Springsteen On Broadway and several more. Road Diary takes as its theme Springsteen’s 2023-4 tour, and uses that as a platform for an often emotional survey of his 50 year history with the E Street Band.
How we used to mock those stuck-in-the-mud opera houses that wheeled out the same moth-eaten production of some box-office favourite decade after decade. Well, Jonathan Miller’s 1950s New York mafiosi version of Verdi’s Rigoletto first arrived on stage in 1982, after The Godfather (Parts I and II) but well before The Sopranos. For ENO at the Coliseum, Elaine Tyler-Hall has now directed its 14th revival. ENO has lately borne the brunt of drive-by funding massacres by the ruthless (and opera-loathing) capi who control the UK arts-subsidy game.
RaMell Ross’s feature debut follows his poetic documentary Hale County This Morning, This Evening (2018) in again observing black Southern teenage boys, this time in Sixties juvenile prison the Nickel Academy, where beatings and unmarked graves await the unluckiest. It faithfully adapts Colson Whitehead’s Pulitzer-winning novel The Nickel Boys, whose writing’s loving warmth made its horrors bearable, his hope for his characters outlasting their fates.
Justin Kurzel’s Australian film subjects are out on the malign edge, from Snowtown’s suburban serial killer and Nitram’s mass shooter to Ned Kelly. His debut documentary’s protagonist Warren Ellis is a contrastingly loving renegade, an escapee from suburban Ballarat who became Nick Cave’s wild-maned right-hand man and The Dirty Three’s frenzied violinist, and journeys here to the Sumatran wildlife sanctuary he helps fund, where he plays to animals like a shaman Dolittle.